penal Gad | Noy ~~ 
a e sf 


, 'MASTERPIECES OF ETCHING BY 
‘WHISTLER AND HADEN 


a y PRINTS BY DURER, REMBRANDT 
af AND OTHER MASTERS 


THREE SMALL, BUT CHOICE 
PRIVATE COLLECTIONS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON WEDNESDAY EVENING, APRIL, 11tTn, 1917 


UNDER THE MANAGEMENT OF 


THE AMERICAN ART ASSOCIATION 
AMERICAN ART GALLERIES | 
MADISON SQUARE SOUTH 
NEW YORK CITY 


Cae TE Ai 8 
- & We i ee a 


LAA + . 
Wee 


|‘ THE AMERICAN ART ASSOCIATION 38 
DESIGNS ITS CATALOGUES AND DIRECTS : 
ALL _ DETAILS OF ILLUSTRATION a 


TEXT AND TYPOGRAPHY 


| ON PUBLIC EXHIBITION 
AT THE AMERICAN ART GALLERIES 


~ MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23rp STREET 


BEGINNING THURSDAY, APRIL 5tu, 1917 
AND CONTINUING UNTIL THE TIME OF SALE 


THREE SMALL, BUT CHOICE PRIVATE COLLECTIONS 
COMPRISING MASTERPIECES OF ETCHING BY 
WHISTLER AND HADEN 


PRINTS BY DURER, REMBRANDT 
AND OTHER MASTERS 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF EXECUTRICES AND OTHER PRIVATE OWNERS 


ON WEDNESDAY, APRIL 111u, 1917 
AT ABOUT 9:00 O’CLOCK IN THE EVENING 


AT THE AMERICAN ART GALLERIES 


genic ase 


99 


519] 


s “NoctTuRNE PALACES 
[ No. 


9 


WHISTLER 


THREE SMALL, BUT CHOICE PRIVATE COLLECTIONS 


COMPRISING MASTERPIECES OF ETCHING BY 


ifemtol LER AND-HADEN 


PRINTS BY DURER, REMBRANDT 
AND OTHER MASTERS 


ie 


tye 
Pe ee, 


oe a 


pe) 


¢ 72 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 


BY ORDER OF EXECUTRICES AND OTHER PRIVATE OWNERS 


ON WEDNESDAY. APRIL 11rTu, 1917 
AT ABOUT 9:00 O’CLOCK IN THE EVENING 


THE SALE TO BE CONDUCTED BY 


MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK CITY 


ab 
Roe 


INTRODUCTORY NOTE REGARDING THE THREE VERY 
IMPORTANT SMALL COLLECTIONS HEREIN 
CATALOGUED 


The collection of etchings by James Abbott McNeill Whistler and 
Sir Francis Seymour Haden, consigned to the Association by the Execu- 
trix of a Connecticut Estate, although small in numbers, is of an excep- 
tionally high quality. Rare indeed are the occurrences when so fine a 
selection of the etchings of these two Masters is offered at public sale. 

The etchings by JAMES ABBOTT McNEILL WHISTLER rank 
in quality and condition with, and in one or two instances even surpass, 
those in the General Brayton Ives collection, or in the late Jones-Everit 
sale, held by the Association in January last. Special attention is 
called to this artist’s celebrated “Nocturne,” one of his finest produc- 
tions; being a Proof printed by himself, and signed with the Butterfly, 
a superb impression of the fourth state, with the added and very unusual 
feature of an inscription in his autograph, stating that this print is a 
“Very pure impression.” Others of the Whistler items include twelve 
plates signed with the “Butterfly.” 

The plates of SIR FRANCIS SEYMOUR HADEN include an 
almost complete series of the set of “Htudes ad VEau-Forte;” a First State 
of “Mytton Hall,” Second State of “Shere Mill Pond,” Trial Proof of 
“Sunset in Ireland,” and First State of “Sunset on the Thames.” 

The consignments from the collection of two well known private col- 
lectors include a number of rare prints by Albrecht Diirer, mezzotints 
by Richard Earlon, engravings by Ferdinand Gaillard; etchings by Carl 
Koepping; etchings by Charles Meryon; several etchings by Samuel 
Palmer; etchings by Rembrandt Van Rijn; and five beautiful impressions 


in mezzotinto, from Turner’s “Liber Studiorum.” 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 


3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 


4. Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, as the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 


5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 


6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost,-. stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 


7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert, who thereby 
would become responsible for such damage as might result were his opinion with- 


out proper foundation. SPECIAL NOTICE 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however, 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 


Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 

AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


IMMEDIATELY PRECEDING THE SALE OF THE ENGRAVINGS 
HEREIN DESCRIBED, THE SECOND SESSION OF THE PRINT COLLEC- 
TION OF THE LATE MR. J. HARSEN PURDY, OF NEW YORK, WILL BE 
DISPOSED OF AT UNRESTRICTED PUBLIC SALE: COMMENCING AT 8:00 
O’CLOCK. 

INASMUCH AS THE EXHIBITION OF THE PURDY COLLECTION WILL 
TAKE PLACE AT THE SAME TIME AS THE PRINTS HEREIN CATA- 
LOGUED, IN ORDER TO AVOID CONFUSION THE ITEMS IN THE PRESENT 
COLLECTION HAVE BEEN NUMBERED COMMENCING WITH 500. 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE BY ORDER OF EXECUTRICES AND 
OTHER PRIVATE OWNERS 


ON WEDNESDAY EVENING, APRIL Ith, 
AT, OR ABOUT 9:00 O’CLOCK 


Nos. 500 to 541, the property of an Estate. 


Nos. 542 to 584, Duplicates from the portfolios of two well-known 
New York Private Collectors. 


See note 
above 
regarding 
numbering 


JAMES ABBOTT McNEILL WHISTLER 


Celebrated American painter and etcher. Born at Lowell, Mass., in 1834; 
died at London, in 1903. 

“With the master-etchers of the world—Meryon’s equal in some respects, 
and, in some respects, Rembrandt’s—there stands James Whistler. Con- 
noisseurs in France and England, in America, Holland, Bavaria, concede 
this now.”—FREDERICK WEDMORE. 

“All his work is alike perfect. It has only been produced under different 
circumstances and is an attempt to render different effects or situations. 
Therefore the methods vary, but the results are always the same—ereat. 
The greatest, most perfect, as a whole, that any etcher has ever accom- 
plished.”—so-EPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


500. La Mire Giérarp. Etching. 
5° Kennedy, No. 11. 
ad ae One of the “French Set.” Fourru state. FINE IMPRES- 


49 


Sale Wednesday Evening, April 11th 


[ No. 500—Continued | 


ston, on laid paper, with wide margins. IN PERFECT CON- 
DITION. 


“An old lady, who is said to have written poetry, and, possibly in 
consequence, came down in the world, and was forced to sell violets 
at a gate of the Luxembourg Gardens. Whistler painted and etched 
her several times, and of her, in the Latin Quarter, endless stories 
were told by him.”—sosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 


501. Fumettre. Etching. 


Kennedy, No. 13. 

One of the “French Set.” FourtrH state. VERY FINE 
IMPRESSION, on laid paper with original margins, Iy 
PERFECT CONDITION. 


“I remember one especially—they called her the tigresse. She sat 
to Whistler several times with her curly hair down her back. She 
had a good voice and I often thought she had suggested Trilby to 
Du Maurier. . . . She was the model for Fumette, Eloise, a little 
modiste, who knew de Musset by heart and would recite his verses to 
Whistler, and who one day in a rage tore up, not his etchings, as 
Mr. Wedmore says, but the Gavarni-like drawings. Whistler was 
then living in the Rue St. Sulpice, and when he came home, to find 
the pieces piled high on his table, he wept over the ruin, literally wept, 
according to Oulevey.”—1UKE 1on1pEs, in the “Life of Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


502. 


En Prem Soreit. Etching. 


Kennedy, No. 15. 
One of the “French set.” SECOND STATE. VERY FINE IM- 
PRESSION, on laid paper with original margins. In PEK- 
FECT CONDITION. 


WHISTLER, JAMES ABBOTT McNEILL 


508. Liverpun. Etching. 


Kennedy, No. 16. 
One of the “French set.” SEcOND STATE. SPLENDID IM- 
PRESSION on laid paper with original margins. Iy PER- 
FECT CONDITION. 


Sale Wednesday Evening, April 11th 


WHISTLER, JAMES ABBOTT McNEILL 


504. Tur Unsare Tenement. Etching. 
Kennedy, No. 17. 
One of the “French Set.” Tuirp stare, before printer’s 
7) Va name was removed. BEAUTIFUL IMPRESSION ON INDIA 
pr f PAPER. IN PERFECT conpriTION. Margin 14 inch on 


the right, original margins on the other side. FINE anp 


RARE. 
ee ay “The Unsafe Tenement is a splendid etching, in unfaltering decision 
ids «. of line and in grand massing of light and shade, which has not de- 
U) stroyed the Dutch-like finish of parts, such as the stable fork with 


its shadow thrown on the wall.”—sernuarp sickert, in “Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


505. Srreer IN SAvERNE. Etching. 
Kennedy, No. 19. 
One of the “French Set.’’ FourtTH sTaATE. SUPERB IM- 
A PRESSION, on greensh laid paper, with original margins. 
94) : IN PERFECT CONDITION. VERY FINE AND RARE. 


“There are in the French set, prints, like the night scene in the 

Alsatian village called 4 Street at Saverne, which are as good as any 

0 that came after, and if looked at carefully the same arrangement of 

ee lines, the same seeking for the same effects, will be found there as 

3 o in the Venetian plates. The plate might be called the first of the 
] Nocturnes.”—JosEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 
506. La Vierte Avx Loaves. Etching. 
Kennedy, No, 21. 
One of the “French Set.”” Serconp STATE. SPLENDID IM- 
wi rd a PRESSION, on InpIA PAPER with original margins. IN PER- 


FECT CONDITION. VERY FINE AND RARE. 


o” “In La Vieille auw Loques, where, as we shall always find with 
ey D* Whistler, the human interest is justly subordinated to the pictorial, 
9) we see the earliest instance of his favorite method of focusing the 


interest within lines that compose a frame.”—™M. c. SALAMAN, “From 
Rembrandt to Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


507. La Marcuanpe pE Mourarpe. Etching. 
Kennedy, No. 22. 
One of the “French Set.” THirp STATE. SPLENDID IM- 
PRESSION, on laid paper with wide margins. VERY FINE 


, 
)d AND RARE. 


“In La Marchande de Moutarde and the Kitchen are very beautiful 
chiaroscuro effects.”—r. R. WAY. 


Sale Wednesday Evening, April 11th 


WHISTLER, JAMES ABBOTT McNEILL 


508. Tirute-Pace to Frencu Ser. Etching. 


Kennedy, No. 25. 
Proor, printed on the original wrapper. Good impres- 
sion printed in brownish ink. 


“Whistler published the French set in 1858 and dedicated it to 
Mon vieil ami Seymour Haden, and sold it himself for two guineas. 
Delatre printed the plates, and, standing at his side, Drouet said, 
Whistler learned the art. Delatre’s shop was the room described by 
the De Goncourts, with the windows looking on a bare garden, the 
star wheel, the man in gray blouse pulling it, the noisy old clock 
in the corner, the sleeping dog, the children peeping in at the door; 
the room where they waited for their first proof with the emotion they 
thought nothing else could give.”—s. aND E. R. PENNELL, in “The Life 
of Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


: co 


ae 
\ 


509. Tirte-Pacr to THE Frencu Ser. Etching. 


Kennedy, No. 25. 7 
One of the Twelve Etchings from Nature, better known 
as the ‘French Set,” published by Whistler in 1858. 


Fine impression oN Inpia paper, with full margins. 


R, JAMES ABBOTT McNEILL 


octuRNE. Etching. 


Kennedy, No, 184. 

Proor, printed by Whistler and signed with the Butterfly. 
FourtH state. Supers impression. The tone is so 
masterfully handled as to make it one of the most beau- 
tiful impressions taken from the plate. On the back 
is written in Whistler’s handwriting,—‘Very pure wm- 
pression,” and signed again with the Butterfly. One of 
the Twelve Etchings. ExcrErpINGLY FINE AND RARE. 


“There are tremulous hours near sunset or sunrise when the land 
and all upon it seems of one substance with the air. The scene 
is felt poignantly, for there is a sense that it must soon pass. The 
sentiment of such scenes Whistler has marvelously caught in the 


best etching of his Venice period. There is no sense that any hand 


ade them, that a few black lines contain them; domes, palaces, bell- 


towers exist as in a dream, which a breath or a sound would dissipate.” 
—FRANK JEWETT MATHER. 


[See Reproduction | 


Sale Wednesday Evening, April 11th 


WHISTLER, JAMES ABBOTT McNEILL 


511. Tue Piazzetta. Etching. 
Kennedy, No. 189. 
Proor, printed by Whistler, and signed with the “Butter- 
Th fly.’ Turrp strate. VERY FINE IMPRESSION, printed 
with a slight tone, IN PERFECT CONDITION. 


‘2 
U “Nature contains the elements, in color and form, of all pictures, 
as the keyboard contains the notes of all music. But the artist is 
5° born to pick, and choose, and group with science these elements, that 
~“ the result may be beautiful—as the musician gathers his notes, and 
forms his chords, until he brings forth from chaos glorious harmony. 
the In all that is dainty and lovable he finds hints for his own combina- 
ge tions, and thus is Nature ever his resource and always at his 
service, and to him is naught refused.”—wuistiER, “Ten O’Clock.” 


WHISTLER, JAMES ABBOTT McNEILL 


512. Tue Tracuerro, No. 2. Etching. 
Kennedy, No. 191. 
eR N TriaL proor, probably printed by Whistler as a worx- 
WV, y ING PROOF. Several folds and creases outside plate-mark, 
. also several slight printer’s folds. Srconp state. Un- 
SIGNED. OF THE GREATEST RARITY. 


ment, leading one into a new world of pictorial vision, where every- 

thing is poetized quintessentially, and all is lovely. His strokes upon 

the copper sing, his spaces are melodious. Look at the Traghetto, and 

oy look and look again. You may not take the slightest interest in 

y> the four seated men, or even the little girl with the child in her 

x "4 arms, but the pure pictorial qualities of form and tone that convey the 
impression of unity, repose, vitality, and infinity, will make you realize 

yer that this is one of the greatest etchings ever done. And how Whistler 


altered and altered that plate, even re-etching the greater part of 
"wm. C. SALAMAN,— 


| ww “With the Venice etchings the matter weaves a spell of enchant- 


it, till he achieved the perfection he aimed at 
“From Rembrandt to Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 
513. Tue Tracuetro, No. 2. Etching. 


0 
sa Kennedy, No. 191. 
/ Proor, printed by Whistler and signed with the “Butter- 
cr) fly.’ FourrH staTE. SUPERB IMPRESSION IN PERFECT 
a) Y conpition. Slightly wrinkled at the top. One of the 


Ey | 3 
WMA “Twelve etchings.’ JXXCEEDINGLY FINE AND RARE. 
\ 

* 


Sale Wednesday Evening, April 11th 


WHISTLER, JAMES ABBOTT McNEILL 
514.)Tuer Riva, No. 1. Etching. 


at Kennedy, No. 192. 
~ er Proor, printed by Whistler, and signed with the “Butter- 
fly.’ Tuirp sTaTE. SUPERB IMPRESSION, % PERFECT 


Fe) cee conpiTion. One of the “T'welve Etchings.” ExtTREMELY 
/V yy FINE AND RARE. 
mene 


/ “More than once he was delighted in his joyous admiration of the 


: . more important of the Venice etchings, protesting against the opinion, 
s ' still more or less prevalent, which classes these as inferior to the 

92° ; Thames etchings. ‘Can’t people see,’ he would say, ‘that my etchings 
oe Yn? show progress all along from the beginning? ”—HOWARD MANSFIELD. 


WHISTLER, JAMES ABBOTT McNEILL 


515. Two Doorways. Etchings. 
Kennedy, No. 198. 

/ Proor, printed by Whistler and signed with the “Butter- 

I fly.’ UNDESCRIBED TRIAL PROOF BEFORE THE FIRST STATE, 
ee before any reflections in the water. Marked in Whis- 
‘ tler’s handwriting,—“‘1st State, 2nd Proof. Printed im 
Venice.’ Ix PERFECT CONDITION, and with large margins. 
Or THE GREATEST RARITY. One of the “T'welve Etchings.” 


WHISTLER, JAMES ABBOTT McNEILL 
516. Tue Mast. Etching. 


? Kennedy, No. 195. 
: 500 “ Painted by Whistler and signed with the “Butterfly.” 
~ Firrn Tate. Fixe impression, printed on Japan paper. 
oe Folded and creased in two places. 


WHISS LES: JAMES ABBOTT McNEILL 


/ a1) San Bracio. Etching. 
Kennedy, No. 197. . 
Proor, printed by Whistler and signed with the “Butter- 


: 
ye a fly.” Firrn state. SUPERB IMPRESSION, IN PERFECT 
Yu a CONDITION. ONE OF THE MOST BEAUTIFUL PRINTS EVER 
a0) TAKEN FROM THE PLATE, and one of the “Twenty-six 

| : Etchings.” EXxXrREMELY FINE AND RARE. 


( “In his studio one day, he was showing me some proofs of the 
\ Venice plates of the second series—the Twenty-six etchings shortly 


aa 


Sale Wednesday Evening, April 11th 


[No. 517—Continued | 


after their first appearance, and I ventured in my enthusiasm to say 
that his needle, like the song of Keats’ _Nightingale, ‘charmed magic 
casements,’ and there was a lovely witchery in his touch upon the 
copper that one might liken to the verbal magic with which Keats 
etches a picture upon the mind. ‘Well, you know, that’s very nice 
and charming, and just as it should be, of course,’ said Whistler 
genially, ‘but if you must have your poetic analogy, I should suggest 
Edgar Allan Poe would be, as who should say, nearer the mark.’ 
Then he went on to talk of Poe's scientific analysis of his own poem 
The Raven, which, Whistler said, was to him one of the most fascinat- 
ing things in literature. For in this he found, consciously applied to 
the composition of the poem, his own principle of focusing the pic- 
torial interest, and then deliberately building up to it with careful 
selection of essential detail, so that the complete work of art should 
be determined from the first.”"—m. c. saLamMaAN,—“‘From Rembrandt 
to Whistler.” 


WHISTLER, JAMES ABBOTT McNEILL 


f18) Sax 
+ 


Giorcio. Etching. 


- Kennedy, No, 201. 


Proor, printed by Whistler and signed with the “Butter- 
fly.” Seconp state, before lines in sky. VERY FINE IM- 
PRESSION. Cut very close to plate-line on sides. Ex- 
TREMELY FINE AND RARE. One of the “T'wenty-sia Etch- 
ings.” 


“Some of us thought at first the Venetian etchings were not satis- 
factory because they did not record the Venice which the cultivated 
tourist, with his guide books and his volumes of Ruskin, goes out 
from London to see. . . . The architecture of Venice had impressed 
us, perhaps, so profoundly so that it was not easy in a moment to 
realize that here was a great artist whose work it had not been 
permitted to dominate. The Past, and its record, were not his busi- 
ness in Venice. For him the lines of the steamboat, the lines of 
the fishing tackle, the shadow under the squalid archway, the way- 
ward vine of the garden, had been as fascinating as engaging, as 
worthy of chronicle, as the Dome of St. Mark’s.”—rrepEeRICK WEDMORE. 


WHISTLER, JAMES ABBOTT McNEILL 


‘Nocturne Pataces. Etching. 


yy 
yor 


Kennedy, No. 202. 

Proor, printed by Whistler, and signed with the “Butter- 
fly.” InTERMEDIATE BETWEEN SIXTH AND SEVENTH 
STATES. SPLENDID IMPRESSION, printed in brownish tone, 


i 


Sale Wednesday Evening, April 11th 


[No. 519—Continued | 


with a curious wiping, giving a liquid tone at a distance. 
In PERFECT conprrion. One of the “T'wenty-Sia Etch- 
ings.” HXCEEDINGLY FINE AND RARE. 


“If it was interesting to watch the biting of the plates and the 
gradual development of the perfect picture, it was even more fas- 
cinating to see him print them. During this period he depended very 
greatly upon a painting of printing ink upon the plate to help com- 
plete his pictures, especially in the watery foregrounds, of which 
there were several amongst the Venice set; and it was little short of 
marvelous to see how he graduated and softened the ink with the 
palm of his hand. He was accumstomed to pull through his plates 
on the press himself, a feat requiring no little strength."—r. rR. way. 


[See Frontispiece for Reproduction | 


WHISTLER, JAMES ABBOTT McNEILL 


1 95SY 


520. Tue Riatro. Etching. 


Kennedy, No. 211. 

Proor, printed by Whistler and signed with the “Butter- 
fly.’ Sreconp state, with foul biting in the foreground 
removed. Fine impression, printed with brownish tone. 
IN PERFECT CONDITION. 


WHISTLER, JAMES ABBOTT McNEILL 


521. Quiet Cana. Etching, 


Kennedy, No. 214. 

Proor, printed by Whistler and signed with the “Butter- 
fly.’ Fourru state. Fixe impression, printed in a 
brownish tone. Ix perrecr conpirion. One of the 
“Twenty-six etchings.” VERY FINE AND RARE. 


“The Quiet Canal, a beautiful view of a canal curving between two 
rows of buildings, with very delicate reflections in the water.”— 
T: R,. WAY. 


WHISTLER, JAMES ABBOTT McNEILL 


522. Drury Lane. Etching. 


Kennedy, No. 237, 

Proor, printed by Whistler and signed with the “Butter- 
fly.” ONLY sTATE. SUPERB IMPRESSION IN PERFECT CON- 
pirion. One of the “T'wenty-sia Etchings.” 


[org ‘ON] 


ANUALOON,, SAH ILLSIH AA 


ce 6 


Rte ao 


Pk et Ne athe oees 


Sale Wednesday Evening, April 11th 


SIR FRANCIS SEYMOUR HADEN 


Eminent English etcher and surgeon. Born at London in 1818; died there 
in 1910. President of the “Royal Society of Painter Etchers.” 
“Seymour Haden is pre-eminently a landscape etcher. Resembling, cer- 
tainly in this respect, the greatest number of etchers. Whatever the land- 
scape be, it is always, it seems, landscape of character and landscape that 
the artist has enjoyed.”—rrepERICK WEDMORE. 

“Few artists of the nineteenth century are more certain of abiding fame 
than he. This is because he excelled all the other artists of his epoch 
in the important career of an etcher of landscape. No other etcher has 
given us such true presentations of the beautiful, quiet landscapes of 
England.”—FrEDERICK KEPPEL. 


HADEN, SIR FRANCIS SEYMOUR 


523. Kenstncron Garpens [Small Plate]. Etching. 
Harrington, No. 12. 
One of the set of “Etudes 4 l’Eau-Forte.” First state, 
SPLENDID IMPRESSION, on thin Japan paper in PERFECT 
CONDITION. 


HADEN, SIR FRANCIS SEYMOUR 


524. Mytron Harr. Etching. 
Harrington, No, 14. 
One of the set of “Etudes & ’Eau-Forte.” Firsr stare, 
with added signature. FINE IMPRESSION, ON JAPAN PAPER. 
IN PERFECT CONDITION. 

“Mytton Hall—which, unlike Mr. Hamerton, I prefer to the Shere— 
had been wrought one year earlier. It shows a shady avenue of yew 
trees leading to an old manor house which receives the full light of 
the sun; and in that print, early as it may seem, was already the 
breadth of treatment which, as years proceeded, became more and 
more a characteristic of Seymour Haden’s work.’—FREDERICK WED- 
mMORE,—‘“‘Fine Prints.” 

“Mytton Hall is an old Henry the Seventh house which I was in 
the habit of staying at for the purpose of salmon fishing in the 


River Ribble (the Lancashire river) which runs past it.”—seymour 
HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


525. Ecuam. Etching. 
Harrington, No. 15. 
One of the set of “Etudes a ’ Eau-Forte.” Triau proor 
B, with burr in lower right corner. VERY FINE IMPRES- 
15 “ft SION, IN GOOD conpiITION. Mended tear in margin to left. 


“The Egham subject has the silence of the open country.”—FREDER- 
IcK WEDMORE,—“Four Masters of Etching.” 


Sale Wednesday Evening, April 11th 


HADEN, SIR FRANCIS SEYMOUR 
526. Ecuam Lock. Etching. 


Harrington, No, 16. 

One of the set of “Etudes a lEau-Forte.” SECOND STATE, 
before the mezzotint. Frve IMPRESSION, IN PERFECT CON- 
DITION. 

“Egham and Egham Lock were done on the same day and from 


the same spot—one looking up, and the other down the River Thames.” 
—SEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


527. Earty Morninc, Ricumonp. Etching. 


Harrington, No. 22. 

One of the set of “Etudes a l’Eau-Forte.” SEcOND STATE, 
with foul biting removed. FINE IMPRESSION, IN PERFECT 
CONDITION, with wide margin. 


“The conception of the plate itself has a poetry of its own, and is 


filled with the freshness of morning.”’—pr. G. HAMERTON,—‘EHtching 
and Etchers.” 


HADEN, SIR FRANCIS SEYMOUR 
528. Suere Mitt Ponn. Etching. 


Harrington, No. 38. 
One of the set of “Etudes ad l Eau-Forte.” SECOND STATE, 
with cleared sky. Frye rmpression, in good condition. 


Slightly wrinkled. 
“With the single exception of one plate, by Claude, this is the 


finest etching of a landscape subject which has ever been executed 
in the world.”—»r. Gc. HamMERTON,—‘“Etching and Etchers.” 


HADEN, SIR FRANCIS SEYMOUR 


, 


529. Sunset 1n InELanp. Etching. 


A 


Harrington, No. 51. 

One of the set of “Etudes a lEau-Forte.” ‘TRIAL PROOF 
E. Very FINE IMPRESSION IN PERFECT CONDITION. VERY 
RARE. 

“This plate, and also 4 By-Road in Tipperary, were done in the 
park of Viscount Hawarden, in the most beautiful part of Tip- 
perary.”—SEYMOUR HADEN. 


“4 Sunset in Ireland, is Haden’s best work in dry-point, and it 
certainly deserves its reputation of one of its author’s master- 


Sale Wednesday Evening, April 11th 


[ No. 529—Continued | 


pieces. The quiet peaceful sunset behind the dark masses of trees 
makes a plate of exquisite beauty. There are great differences in the 
various states, so that a choice among them is extremely difficult. 
The rich, dark, late-evening effect of the second state is quite as 
fine in its way as the lighter and more delicate early-evening effect 
of the earlier impressions.”—aTHERTON CURTIS. 


HADEN, SIR FRANCIS SEYMOUR 


530. THomas Hapren or Dersy. Etching. 
Harrington, No. 58. 
oe One of the set of “Etudes a ’Eau-Forte.:’ Tria PRooF 
*)3 A. IMPRESSION IN PERFECT CONDITION. 


“Thomas Haden of Derby, my grandfather, was, under a polished 
exterior, one of the most determined men I have ever known and 
one of the bravest. He would have made a hero of romance if he 
had had the chance. At the age of eighty-five he defended the house 
against the whole mob of Derby, keeping them at bay all night.”— 
SEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


531. New CasTLe In Emuyn. Etching. 
Harrington, No. 62. 
One of the set of “Etudes a lEau-Forte.” First state. 
IMPRESSION IN PERFECT CONDITION. 


“It is a very interesting little piece, engraved in the manner 
of a free sketch, very attractive in its simplicity.”—cu:TAvE BoUR- 
carp,—‘Siécles de Gravures.” 


HADEN, SIR FRANCIS SEYMOUR 


532. Tue Houser or THE SmirH. Etching. 
Harrington, No. 63. 
One of the set of “Etudes a lV’ Eau-Forte.” First state. 


FINE IMPRESSION, IN PERFECT CONDITION. 


“This may be taken as fairly representative of Mr. Haden’s 
sketches on copper.”—P. G. HAMERTON,—“Etching and Etchers.” 


HADEN, SIR FRANCIS SEYMOUR 


533. Kenartu, SourH Wates. Etching. 
Harrington, No. 64. 
One of the set of “Htudes a ’Eau-Forte.” First stare. 


3 ) a“ RiIcH IMPRESSION, IN PERFECT CONDITION. 


Sale Wednesday Evening, April 11th 


HADEN, SIR FRANCIS SEYMOUR 
534. Brentrorp Ferry. Etching. 


Harrington, No. 75. 
One of the set of “Ktudes a l’ Eau-Forte.” Frrst state. 
FINE IMPRESSION, IN PERFECT CONDITION. 


HADEN, SIR FRANCIS SEYMOUR 


585. Tur Towne Patu. Drypoint. 
Harrington, No. 7 
or One of the set of “Etudes a ’1Eau-Forte.” SECOND STATE. 
FINE IMPRESSION, IN PERFECT CONDITION. 
“Mr. Haden always thought this one of his best plates—an opinion, 
however, in which he has stood, he is bound to say, pretty much alone. 


Whether it is the lady or the dog he knows not, but it has never 
been a favorite.”’—sEYMOUR HADEN. 


HADEN, SIR FRANCIS SEYMOUR 


586. Evrentne. Etching. 
Harrington, No. 77. 
ft One of the set of “Ktudes a ’Eau-Forte.” First stare. 
FINE IMPRESSION, with tone, printed on thin Japan paper. 
IN PERFECT CONDITION. 


HADEN, SIR FRANCIS SEYMOUR 


587. Sunset on THE THames. Etching. 
Harrington, No. 93. 
One of the set of “Etudes a LEau Forres First STATE. 
FINE IMPRESSION, IN PERFECT CONDITION. 


“The First State is the best and is now very rare.”—sEYMOUR HADEN. 

“The effect of the light is given with such magnificent force the 
whole sky flames.”—p. Gc. HAMERTON,—“Etching and Etchers.” 

“He can show us with a few well-placed strokes a splendid, 
radiant sunset, as in the Sunset on the Thames, or a glistening sunrise 
dispelling the ‘morning mists, as in his Harly Morning, Richmond.”— 
ATHERTON CURTIS. 


Sale Wednesday Evening, April 11th 


FELIX BRACQUEMOND 


French etcher. Born at Paris in 1833; died in 1915. Technically he was 
one of the most consummate etchers ever known. At the time of his death 
he was the dean of French engravers. He numberd among his friends 
all the great artists of his time, many of whom he assisted with instruc- 
tion and advice. 


BRACQUEMOND, FELIX 


538. Merron. Heliogravure. 
Beraldi, No. 77. 
Heliogravure after the very rare original. PRooF BEFORE 
ADDITIONAL LETTERS. 


LEOPOLD FLAMENG 


French engraver and etcher. Born at Brussels, 18381. Lived chiefly in 
Paris. His art shows a strong leaning towards the school of Rembrandt. 


FLAMENG, LEOPOLD 


539. Porrrair or Meryon. Lithograph. 
Lithograph reproduction of the drawing by Flameng for- 
merly in the possession of Sir Francis Seymour Haden. 
ImprREssION ON VELLUM. The drawing was made just be- 
fore Meryon was committed to the asylum at Charenton. 


FLAMENG, LEOPOLD 


540. Portrarr or Meryon. Lithograph. 
Lithographic reproduction of the drawing by Flameng. 
Formerly in the possession of Sir Francis Seymour 
Haden. Proor BEFORE LETTERS ON JAPAN PAPER. 


Slightly rubbed. 


Sale Wednesday Evening, April 11th 


CHARLES MERYON 


Celebrated French etcher. Born in Paris, 1821; died there, in 1868. 
“But we must turn now to a great poet-etcher, one of the greatest masters 
that the copper-plate has ever known and one of the most tragic and piteous 
figures in the history of art. . . . His strange weird genius, haunted by 
the mysterious beauty that the centuries had stamped on Paris, expressed 
itself through an artistic record of her old buildings that was soundly 
while imaginatively picturesque, yet personally reflective to an extraor- 
dinary degree.”—MALCOLM SALAMAN. 

[See Nos. 558 to 560 in this catalogue for other Meryon items] 


MERYON, CHARLES 


541. Louis XI. Recervine a Printer. Etching. 
Delteil, No. 94. 
Engraved after an old miniature now in the possession 
of A. Beurdeley. FourtH state. FINE IMPRESSION, IN 
PERFECT CONDITION, and with original margins. 


HEINRICH ALDEGREVER 


One of the “Little Masters.” Born at Soest, Westphalia, 1502. A pupil of 
Diirer. 


ALDEGREVER, HEINRICH 


542. Tue Goop Samariran. Engraving. 
Bartsch, No. 48. 
Engraved after his own design in 1554. Fair impression, 
IN PERFECT ConDITION, Margin 4 inch all around. 
From an unidentified collection. 


THEOPHILE CHAUVEL 


French etcher. Born at Paris, 1831. As a pupil of Picot and d’Aligny, 
he won renown. 


CHAUVEL, THEOPHILE 


543. THe Storm. Etching. 
Etched after Diaz. S1iGNED ARTIST’S PROOF, BEFORE LET- 


TERS, on Japan paper. 


Sale Wednesday Evening, April 11th 


CLAUDE GELEE DE LORRAINE 


French painter and etcher. Born at Champagne in the ancient province of 
Lorraine, in 1600. 

“Claude was indefatiguable to get a really solid basis of art training, to 
penetrate into the utmost secrets of nature.”—sANDRART. 


CLAUDE (GELEE) DE LORRAINE 


544. Tue Dance Unper toe Trees. Etching. 
Robert-Dumesnil, No. 6. 
Etched after the artist’s own design. THrrp svrarTe. 
BEAUTIFUL IMPRESSION, with broad margins, 


ALBRECHT DURER 


Celebrated German painter and engraver. Born of Hungarian descent at 
Niiremberg, in 1471; died there in 1528. The Great Master of copper- 
engraving. 


DURER, ALBRECHT 


545. Tue Nativiry. Engraving. 
Bartsch, No. 2. 
Engraved after his own design in 1504. Fine mpres- 
SION, in fair condition. Many thin places and pin-pricks. 
Print has been badly folded. Cut just outside plate- 
mark; bottom and sides, just inside at top. VERY RaRE. 
From an unidentified collection. 


DURER, ALBRECHT 


546. Tur Propicat Son. Engraving. 
Bartsch, No. 28. 
Engraved after his own design and signed with the early 
style of monogram,—“A. D.” Fair impression, in fair 
condition. Corner attached. Several thin spots and pin- 
pricks. Has been folded and pressed. Margin 1/82 inch 


all around. 


Sale Wednesday Evenng, April 11th 


DURER, ALBRECHT 


547. Virein wirH Crown anp Sceprre. Engraving. 
Bartsch, No. 82. 
Engraved after his own design in 1516, Goop ImpREs- 
sIoN, in good condition. A few thin spots and rubbed 
places. Cut on the plate-line. 
From an unidentified collection. 


DURER, ALBRECHT 


548. Turee Genu. Engraving. 
Bartsch, No. 66. 
Engraved after his own design. Fair impression, in good 
condition. Several thin places. Cut slightly inside plate- 
mark bottom and left side. 
From several unidentified collections. 


DURER, ALBRECHT 


549. Coat or Arms witH Aa Cock. Engraving. 
Bartsch, No. 100. 
Engraved after his own design. Frye IMPRESSION, in very 
good condition. A very small tear. Cut on the plate- 
mark. 
From the collection of Ambrose Firmin-Didot and several 
unidentified collections. 


RICHARD EARLOM 


Born in Somersetshire, 1743; died in London, 1822. He was at first a pupil 
of Cipriani, but later devoted himself to mezzotinto engraving. He exe- 
cuted few works in stipple, but they are of a quality which entitle him 
to rank as one of the greatest engravers in that manner. 


EARLOM, RICHARD 


550. A Frower Pisce. Mezzotint. 
Engraved after the painting by Van Huysum. Proor 
BEFORE TITLE. SPLENDID IMPRESSION, IN PERFECT CON- 
pition. A companion to “A Fruit Piece.” 
Framed. 
“Farlom’s Fruit Piece and Flower Piece are considered to be not 


only his masterpieces but also the masterpieces of all mezzotint en- 
graving.”—GrEoRGE pUPLEssIs,—“Les Merveilles de la Gravure.” 


Sale Wednesday Evening, April 11th 


EARLOM, RICHARD 


551. A Fruir Piece. Mezzotint. 
Engraved after the painting by Van Huysum. Proor 
BEFORE TITLE. SPLENDID IMPRESSION, IN PERFECT CON- 
DITION. A companion to “A Flower Piece.” 
Framed. 


See quotation in previous lot, by George Duplessis, Curator at the 
Paris Print Room. 


FERDINAND GAILLARD 


Born at Paris, 1834; died, 1887. 

“Great engraver! Gaillard is that to-day, and for all time, by his draw- 
ing, by his extraordinary and personal qualities of execution. A marvelous 
draughtsman. . . . A Gaillard is as characteristic and is recognized as 
easily as a Robert Nanteuil.”—BeRatpt. 


GAILLARD, FERDINAND 


552. Venus. Engraving. 
Beraldi, No. 20. 
Engraved after the sculpture of Thorwaldsen. Srconp 
STATE. SIGNED PRESENTATION PROOF, 1868. SPLENDID 
IMPRESSION, with full margin. 
From the W. S. Carter collection. 
Framed. 


GAILLARD, FERDINAND 


553. Mercury. Engraving. 
Beraldi, No. 21. 
Engraved after the sculpture of Thorwaldsen. Srconp 
STATE. SIGNED PRESENTATION PROOF, 1868. SPLENDID 
IMPRESSION, with full margin. 
From the W. S. Carter collection. 
Framed. 


Sale Wednesday Evening, April 11th 


AXEL HERMAN HAIG 


Contemporary Swedish etcher renowned for his etchings of cathedrals and 
architectural subjects. 


HAIG, AXEL HERMAN 


554. Inrerior or Burcos CaTHeprau. Etching. 
Armstrong, No. 65. 
SIGNED ARTIST’s PROOF. VERY FINE IMPRESSION. Plate 
destroyed after 500 impressions. 
From the Marquand collection. 
Framed. 
This etching is usually considered the artist’s master- 
piece. 


CARL KOEPPING 


German reproductive-etcher of the late 19th century. 


KOEPPING, CARL 


555. Tue Corrace Door. Etching. 
Etching after the painting by Gainsborough. Si¢NEp 
ARTIST’S PROOF ON JAPAN PAPER. 
Framed. 


KOEPPING, CARL 


556. Tue Marker Cart. Etching. 
Etching after the painting by Gainsborough. Sie¢nEp 
ARTIST’S PROOF ON JAPAN PAPER. 
Framed. 


KOEPPING, CARL 


557. Heap or a JEwisH Rassi. Etching. 
Etching after the painting by Rembrandt. SienEp 
ARTIST’S PROOF ON JAPAN PAPER. Plate destroyed. 
Framed. 


Sale Wednesday Evening, April 11th 


CHARLES MERYON 


Celebrated French etcher. Born in Paris, 1821; died there, in 1868. [See 
No. 541 in this catalogue] 


MERYON, CHARLES 


558. Le Petit Pont. Etching. 
Delteil, No. 24. 
Tuirp state, before the scratches in the margin were 
removed. VERY FINE IMPRESSION, IN PERFECT CONDITION, 
and with full margins. VERY RARE. 


MERYON, CHARLES 


559. ToureLLeE pe LA Rue pe LA TrxeranpeRiz. Etching 
Delteil, No. 29. 
SECOND STATE BEFORE LETTERS. FINE IMPRESSION, IN 
PERFECT CONDITION, and with full margins. 


MERYON, CHARLES 


560. Sr. Errennet Du Monr. Etching. 
Delteil, No. 80. 
FourtH state. Fine LuMrINous IMPRESSION, on Holland 
paper. Ix pErFecT conpirion, and with full margins. 
VERY RARE. 


SAMUEL PALMER 


English watercolor painter and etcher. Born in 1805; died at Regate in 
1881. He early showed a taste for art, and at the age of fourteen, exhibited 
several landscapes at the “British Institute.” 

“His romantic idealism not unworthily carried on the sentiment which 
inspired much of Blake and all of Calvert.”—a. M. HIND. 


PALMER, SAMUEL 


561. Tur Herpsman’s Corracr, or Sunset. Etching. 
Hardie, No. 3. 
VERY FINE IMPRESSION OF THE PUBLISHED STATE, printed 
on papier vélin. In PERFECT CONDITION, and with large 
margins. 


Sale Wednesday Evening, April 11th 


PALMER, SAMUEL 


562. Curisrmas. Etching. 
Hardie, No. 4. 
SIGNED ARTIST’s PROOF, printed on plate paper. SEconpD 
sTATE, before all letters. SpLENDID IMPRESSION, IN PER- 
FECT CONDITION, and with full margins. 


An illustration to “Bampfylde’s Sonnet :” 


“With footstep slow, in furry pall y-clad, 
His brows enwreathed with holly never sere, 
Old Christmas comes, to close the waned year, 
And aye the shepherd’s heart to make right glad; 
Who when his teeming flocks are homeward had, 
T'o blazing hearth repairs, and nut-brown beer.” 


PALMER, SAMUEL 


563. Tue Vine. Etching. 
Hardie, No. 5. 
The upper half of the plate in illustration of a Shake- 
speare song in “Antony and Cleopatra.” Fine IMpREs- 
SION OF THE PUBLISHED sTATE. Cut within 14 inch of 
the etched surface. Slight mended tear. 


“Come thow monarch of the vine 
Plumpy Bacchus with pink eyne.” 


PALMER, SAMUEL 


564. Tue Herpsman. Etching. 
Hardie, No. 8. 
SIGNED ARTIST’s PROOF. EARLY WORKING PROOF, marked 
in Palmer’s handwriting,—-‘Early state, fine proof.” 
SUPERB IMPREssION, with full margins. Very slightly 


rubbed. 


The following note by Palmer’s son was copied from the original 
mount,— 

“This is the very best impression that was ever taken from this 
plate in its finished state, but before its issue in the Club Work of 
1867; since which time the proof has remained in 8S. Palmer’s port- 
folio.” Signed “4d. H. Palmer, 5-9-79.” 


Sale Wednesday Evening, April 11th 


PALMER, SAMUEL 


565. Tur Earty PLoveuman. Etching. 
Hardie, No. 9. 
SPLENDID EARLY IMPRESSION, drawn upon by the artists. 
Printed on laid Japan paper. In PERFECT CONDITION. 
From the collections of Sir Francis Seymour Haden, and 


E. G. Kennedy. 


PALMER, SAMUEL 


566. Tur Earty Provcuman. Etching. 
Hardie, No. 9. 
SIGNED ARTIST’s PROOF marked by the artist, “‘finished 
state.” VERY FINE IMPREssION, with full margin. 
From the A. M. Burritt collection. 


PALMER, SAMUEL 


567. THe Mornine or Lire. Etching. 
Hardie, No. 10. 
TriaL proor, printed by F. Goulding. Marked in Pal- 
mer’s handwriting,—‘‘T'rial proof on old Japanese paper.” 
SUPERB LUMINOUS IMPRESSION, printed with brownish ink. 
VeRY FINE conpiTION. Margin 14 inch all round. Very 
RARE. 
From the collection of Frederick Goulding. 


PALMER, SAMUEL 


568. Ture Betiman. Etching. 
Hardie, No. 11. 
SIGNED REMARQUE PROOF. First state. PROOF MARKED 
“No. 1,” of 60 proofs in this state. SpLeNDID IMPRES- 
SION. IN PERFECT CONDITION. 


Illustration to Milton’s **Il Penseroso :”’ 


Rae Pie the Bellman’s drowsy charm 
To bless the doors from nightly harm.” 


66 


Sale Wednesday Evening, April 11th 


PALMER, SAMUEL 


569. Tur Lonety Tower. Etching. 
Hardie, No. 12. 
SIGNED ARTIST’s PROOF, SPLENDID IMPRESSION, printed 
on Japan paper. Large margins. Slightly rubbed. 
An illustration to ‘‘Milton’s Il Penseroso :” 
“Or let my lamp at midnight hour 
Be seen in some high lonely tower, 
Where I may oft out-watch the Bear.” 


PALMER, SAMUEL 


570. Opentnc THE Foxp, or Earty Mornine. Etching. 
Hardie, No. 13. 
UNDESCRIBED TRIAL PROOF, without letters or remarque. 
SPLENDID IMPRESSION IN IMMACULATE CONDITION. Mar- 
gin 14, inch all round. 
An illustration to Virgil’s “Eclogue:” 
‘““And folded flocks were loose to browse anew 
O’er mountain thyme or trefoil wet with dew.” 


PALMER, SAMUEL 


571. Nympus Mournine For Darunis. Etching. 
Not numbered by Hardie. 
Plate begun by Samuel Palmer and later finished by his 
son, A. H. Palmer. VERY FINE EARLY PROOF BEFORE ALL 
LETTERS. IN IMMACULATE CONDITION. 
This plate was published as an illustration to “An 
English Version of the Eclogues of Virgil.” 


Sale Wednesday Evening, April 11th 


REMBRANDT VAN RIJN 


Celebrated Dutch painter and etcher. Born at Leyden, 1607; died at 
sek oonae 1669, Pupil of Swanenburgh and Lastman, but largely self- 
taught. 

“The opinion among etchers which enthrones Rembrandt as King of the 
craft is the most recent instance of perfect unanimity among people of all 
nationalities. . . . In his own lines of work, there is no one in all history 
to be compared with Rembrandt.”—». Gc. HAMERTON. 


REMBRANDT, VAN RIJN 


572. Tue Triumpxu or Morpvecat. Etching. 
Bartsch, No. 40. 
ONLY sTATE. Good impression. Corner mended. 
From the H. F. Sewall collection of the Boston Museum 
of Fine Arts. 


REMBRANDT, VAN RIJN 


573. Jan Lurma. Etching. 
Bartsch, No. 276. 
Tuirp state. Late impression, in very good condition. 
From an unidentified collection. 


JOSEPH MALLORD WILLIAM TURNER 


Celebrated English painter. Born, 1775; died, 1851. 

“The ‘Liber Studiorum’ was intended by Turner from the first to be a 
series not of sketches, but of fully finished pictures; and these pictures 
were to illustrate his whole range of powers, and to embrace, every sort 
of subject of which he considered himself master. . . . The ‘Liber Stu- 
diorum’ came forth a truly monumental work, taking rank with the highest 
productions of Turner’s genius.”—w. G. RAWLINSON. 

The five items herein described are beautiful impressions of plates for the 
‘Liber’ series. 


TURNER, JOSEPH MALLORD WILLIAM 


574. Mr. Sr. Gornarp. Mezzotint. 
Rawlinson, No. 9. 
Engraved by Charles Turner over the etching by J. M. 
W. Turner. First state. SPLENDID IMPRESSION, in 
good condition. VERY FINE AND RARE. 
“The engraved plate is not only among the finest of the ‘Liber,’ but 


it is a notable instance of Turner’s power of conquering difficulties.” 
—wW. G. RAWLINSON. 


Sale Wednesday Evening, April 11th 


LUCAS VAN UDEN 


Flemish etcher. Born at Antwerp. One of the most original of the 
17th century landscape etchers. 


VAN UDEN, LUCAS 


588. Cavauiers Warterine THerr Horses. Etching. 
Bartsch, No. 7. 
VERY FINE IMPRESSION, IN PERFECT conpiTIoN. The 
proof appears to have been printed on the reverse of a 


very curious lined paper. Cut on the plate-line. 
From the collection of the Baron von Lanna. 


WILLIAM WALKER 


Born in Edinburgh, 1791; died in London, 1867. 


WALKER, WILLIAM 


584. Tur Suapow or THE Minster. Etching. 
SIGNED_ARTIST’s PROOF. IN PERFECT CONDITION, and with 
full margins. , 


AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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AND OTHER PURPOSES 


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